Word: fasts
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...rare moments when the movie slows down, as it does for plot-requisite conversations at the beginning and the end, that The Bourne Ultimatum seems empty and ill-used, like an interrogation room after a waterboarding. Greengrass cuts each action scene into agitated bits; but he can't let fast enough alone. Could he please explain why, in the chat scenes, the camera is afflicted with Parkinson's? The film frame trembles, obscures the speaker with the listener's shoulder, annoys viewers and distracts them from the content of the scene. It surely interrupted my enjoyment of the movie...
Despite his tardiness, Greengrass won over producers with his analysis of the Bourne character and his comfort with fast-paced, naturalistic filmmaking, honed from his documentary work. Producers fixed him up on a date with Damon, who was by this point in Prague filming The Brothers Grimm for Terry Gilliam. At London's Heathrow Airport, with £15 in his pocket, Greengrass realized, "I'd better get some money, 'cause I'm taking out one of the world's great movie stars." His cash card was overdrawn. "So I spent the whole meeting with him thinking, Please don't order...
...copied some of that from him. I liked his attitude that a film is not an event you make a big deal out of. He felt filmmaking was just a group of people working. He worked very fast. He'd shoot seven or eight pages of script at a time. They didn't have the money to do anything else...
What did the domineering Swedish tragedian and the nebbishy American comedian have in common? Plenty. Both created original scripts from their experiences and obsessions. Both worked fast--at least a movie a year for most of their long careers--and relatively cheap. Both forged long relationships with their sponsoring studios. And Bergman was a strong influence on Allen's work: from his New Yorker parody of The Seventh Seal ("Death Knocks," in which the hero plays not chess with Death but gin rummy) to a cameo by the Grim Reaper in Love and Death and, more deeply, the inspiration...
...copied some of that from him. I liked his attitude that a film is not an event you make a big deal out of. He felt filmmaking was just a group of people working. At times he made two and three films in a year. He worked very fast; he'd shoot seven or eight pages of script at a time. They didn't have the money to do anything else...